This work developped from three experiences that moved me profoundly. Though distinct, each seemed to me intimately linked. First, the experience of Michel Reilhac's DarkNoir at the Paris Vidéothèque. Submerged in an absolute darkness, cut off from every ordinary visual landmark, the viewer is braced for anything that might serve as an indication for sensing, holding onto or understanding. While the retina makes unaccustomed efforts, the other senses such as hearing and smell are exacerbated. The most simple bodily sensations are transformed and multiplied. At the end of this journey, one has the feeling one will never again see as before. This simple act of seeing acquires an unknown force after this « passage into obscurity ». It seemed to me possible to transfer this concept to the image of the body, and more precisely to the dancing body.

Improvising with closed eyes is the second experience and is tied to my background as a performer. As much from what it offers of fragility and abandon as by what it forces one to live, dancing with closed eyes is a fundamental experience for a dancer : the internal work of perception, cut off from the regard's projection towards the exterior, acquires an exceptional resonance leading to a dance of being, of rare intensity.

Finally my trip to Vietnam with a grant from « Villa Medicis hors-les-murs » (outside the walls) constitued an important stage, artistically and personally. Unable to speak the language, outside of everyday activities, dance was my only connection with the vietnamese. Immersed in an unfamiliar world, I still had the feeling of understanding, of « re-cognizing » things that are profoundly part of me.The sentiment of sizing the connection of my origins came from my everyday-body adapting so easily to the climate, the food, the vietnamese rhythms and from experiencing dance with the dancers I met. It seems to me that Darkness is a metaphor to name this feeling of closeness covered by the veil of the unknown.

Múa is meant to be lived as an experience where obscurity-light, appearance-disappearance, silence-music, dance and immobility are the interfaces of a single thing : the accession to oneself and to the world.

Múa is a solo danced in almost complete darkness, is this because of some radical point of view? No, it is more a fundamental question about dance itself: how do the movements of the dancer interact with the perception of the spectator? How do they reinforce or change the rules, how does the use of certain conventions in performance and movement condition the eyes of the spectator – and vice-versa, how does the changing of his or her way of seeing, here by having to use peripheral and other forms of vision through the darkness – change the movement of the dancer ?